Project Hate MCMXCIX, The (Death Metal)

Biography

THE PROJECT HATE MCMXCIX are back with the darkest work in their more than twelve year lasting career: "Bleeding The New Apocalypse (Cum Victriciis In Manibus Armis)". The Masters of and beyond Death Metal present more than sixty minutes of assembled brutality, beauty, blasphemous symphonies and diabolical domination – all gathered in six songs, which were recorded with guest contributions of Leif Edling (CANDLEMASS), Mike Wead (KING DIAMOND, BIBLEBLACK), Jocke Widfeldt (VICIOUS ART) and Christian Älvestam (ex-SCAR SYMMETRY) and collectively mixed and mastered at Unisound by legendary producer Dan Swanö.

THE PROJECT HATE MCMXCIX started up in 1998 after years of talking between the two long-time friends and band leaders Lord K. Philipson and Jörgen Sandström. Lord K. Philipson was already widely known for his work with GOD AMONG INSECTS, LEUKEMIA, HOUSE OF USHER, LAME as well as stepping in as a touring bassist and guitarist for renowned bands like DARK FUNERAL, VOMITORY and GRAVE among others. In addition to this, Lord K. also served as the editor of that legendary early 90's fanzine "Hypnosia Magazine". His partner Jörgen Sandström had gained fame by contributing his crushing vocals on the first three classic albums of Death Metal legends GRAVE as well as handling the bass and backing vocal duties in ENTOMBED for over a decade, before joining VICIOUS ART and KRUX.

Their first united effort was the immediate recording of "Deadmarch: Initiation of Blasphemy" in 1998, which never saw publication until it finally came out the year 2009. In the winter of 1998 the Swedes recorded their one and only demo with and in the studio of famed producer Dan Swanö, with ENTOMBED's L.G. Petrov on backing vocals. The demo was sent out to 4 labels and a deal with a German label was inked 1999.

At the end of 1999 THE PROJECT HATE MCMXCIX recorded their widely acclaimed debut "Cybersonic Superchrist" (2000), which earned them a massive response in the press. Again collaborating with Dan Swanö in studio, the band added female vocalist Mia Ståhl to their line-up to bring a wider range of variety to their music. Following up on the great acclaim for their first release in the press, their second album started to take form within a year.

"When We Are Done, Your Flesh Will Be Ours" was digitalized in the Soundlab Studios of the late Nasum frontman Mieszko Talarczyk and subsequently mastered at Cutting Room in Stockholm, Sweden. The album was released in late summer of 2001 and again scored very high reviews in the press. At that stage THE PROJECT HATE MCMXCIX was very discontent with their label's work and the contract was finally terminated in 2002. During the same year Petter S. Freed (aka Mazza) of 2 TON PREDATOR joined originally as a live guitarist, but that was later changed to a permanent place in the group as his contributions to the sound were well received by his band mates.

In the summer of 2002 THE PROJECT HATE MCMXCIX played in Helsinki, Finland and the show was recorded through the soundboard onto a mini-disc. This was then unleashed upon the world as the live album "Killing Hellsinki" in April 2003. In the meantime the Swedes had parted ways with Mia Ståhl in late 2002 and in a stroke of luck stumbled upon Miss Jonna "Jo" Enckell, who lifted the sound of the band into another dimension.

In April 2003 THE PROJECT HATE MCMXCIX returned to the Soundlab Studios in Örebro, Sweden to record their third masterpieve "Hate, Dominate, Congregate, Eliminate" once again with Mieszko Talarczyk, which took the world by storm the same year.

The Swedes were already planning their next collaboration with the Nasum frontman, when disaster struck fatally and sadly ended the life of their friend in the Tsunami-catastrophe at the end of 2004. Therefore THE PROJECT HATE MCMXCIX did not hesitate to renew their bonds with Dan Swanö and recorded the largest part of "Armageddon March Eternal – Symphonies of Slit Wrists" in his studio during early 2005. In the view of the band, they put an hour of perfection on tape and took another step up the ladder of domination.

For the first time in the career of THE PROJECT HATE MCMXCIX, Lord K. asked someone else to play the bass on "Armageddon March Eternal – Symphonies of Slit Wrists" (2005) instead of doing it himself as before. Michael Håkansson (formerly of EVERGREY and ENGEL) stepped in and the band was so impressed by his performance that Michael was asked to join as a permanent member.

This process of acquisitioning members at studio sessions was repeated with the Swedes' next effort "In Hora Mortis Nostræ". During the recordings in late 2006 and early 2007 THE PROJECT HATE MCMXCIX had utilized the services of a real drummer for the first time in their career as Michael had suggested his then ENGEL-band mate Daniel "Mojjo" Moilanen for the job. Again Jonna "Jo" Enckell contributed female vocals. In May, 2007 "In Hora Mortis Nostræ" was mixed and demonized by Dan Swanö and Lord K Philipson and released in September the same year.

During 2008 Petter S. "Mazza" Freed decided to leave THE PROJECT HATE MCMXCIX on good terms and was quickly replaced by Anders Bertilsson, who had already helped Lord K. with composing the material for the follow-up to "In Hora Mortis Nostræ". Change was seemingly in the air as the Swedes also switched labels during that year and in the end of 2008 Daniel "Mojjo" Moilanen had to quit the band due to conflicting schedules. And while Thomas Ohlsson took over the drum stool, Michael Håkansson returned all bass duties to Philipson for personal reasons.

Yet THE PROJECT HATE MCMXCIX were too busy working on the creation of "The Lustrate Process" to fall into stagnation. Their sixth album was recorded at various studios, while ending up being mixed and mastered by Dan Swanö at Unisound Studios. Released during summer 2009 this Death Metal work of art raised the bar once again for what the band can and will do in future. Yet before the Swedes could move on it was time again for some changes.

In 2010 Jonna "Jo" Enckell decided to focus on her solo career and was replaced by Portuguese vocalist Ruby Roque (WITCHBREED). Thomas Ohlsson was also relieved of his duty and in stepped a long-time friend: Tobias "Tobben" Gustafsson of VOMITORY and TORTURE DIVISION. At the same time THE PROJECT HATE MCMXCIX found a new home at Season of Mist, who were quickly convinced by the strength of the new material presented to them.

With the forthcoming album "Bleeding The New Apocalypse (Cum Victriciis In Manibus Armis)" THE PROJECT HATE MCMXCIX approach their unique style from all directions, improving the sound that they are known for from previous albums. On the basis of hard hitting and razor sharp Death Metal riffing, the Swedes explore experimental elements, add electronic influences close to Industrial and make use their typical short solo excursions and varied vocals shifting between deep growls and clear female passages.

As Lord K. Philipson puts it with a smile: "THE PROJECT HATE MCMXCIX might sound like a lot of bands, but there is not one single band that sound like THE PROJECT HATE MCMXCIX. Be warned: "Bleeding The New Apocalypse (Cum Victriciis In Manibus Armis)" is highly addictive – get your dose now!

Releases Season of Mist

General information

Rel. date

:

Mon, Feb 14 2011

Rel. date US

:

Tue, Feb 15 2011

Genre

:

Industrial Death Metal

Reference

:

SOM230

Status

:

available

Reviews

Powerplay 9/10 - UK - Mar 2011

With an album title worthy of a Bal Sagoth release, this Swedish band has certainly set the bar for 2011 very high with their epic and progressive death metal. The album has six songs averaging ten minutes apiece so you know you’re in for a long haul but it is definitely worth the slog. The band has introduced more experimental flourishes, such as electronics, clean vocal elements and the occasional industrial touch. Beginning with “Iesus Nazarenus, Servus Mei”, you immediately think of Arch Enemy for the guitar riffing and especially the solos. The guitar sound is immense but crystal clear and Ruby Roque’s clean female vocal lines will have you thinking of Anneke van Giersbergen or even Danishta Rivero on the first Aghora album. To describe this album fully would take at least a page as the band has more ideas in one song than many bands have in their entire discography. This is by no means a weedy album even when the electronic elements infuse a song like “They Shall All Be Witnesses” right before the ball breaking Swedeath riff follows it. There are some epic Dimmu moments on “A Revelation Of Desecrated Heavens” counterbalanced by an Evergrey like melodic heaviness. The lead work is exquisite whenever it appears at the appropriate moment in every song and takes on an Amott vibe, which is no bad thing at all. This album is likely to be a contender in my best of the year even at this early stage, as the music it offers is fantastic, but only if you’re up for something that little bit different.